Comments ~ 2007: February

Dessie's never been away, Tongue was firmly in cheek and help on finding information on John Wallace Mouthpieces and the bands continue their preparations to the Regionals that start next Saturday.

Dessie's never been away

It was interesting and encouraging to see the results of the recent Northern Ireland Solo & Small Ensemble results in the news columns. I was just a little taken back by whoever the roving reporter was as to his comment about the winner of our Open Solo, Desmond Neill. The comment that he, 'Dessie has reasserted him self as one of the top soloists in NI' is a statement beyond belief and an insult to a man who in my opinion has been unequalled in cornet playing for nearly 40 years. For the reporters information Dessie has never 'been away'.

He was runner up last year and has been playing brilliantly for Laganvale. In a time when people talk about legendary cornet players e.g. Jim Shepherd, Phillip McCann, Alan Morrison etc. in our small province and our movement over here, in my opinion Dessie Neill is a legend. He has been playing principal cornet for various bands at the highest level for nearly 40 years and only proved last week that he is still able to do it. The winner of that contest is declared the Irish Solo Champion and I would have a guess that he is now in double figures in wins.

Apart from the great Bobby McDowell nobody else comes close. He has always been and still is a great bandsman, has been a dedicated player and a fine example  to any young cornet player and still is the best we have over here.  Congratulations Dessie and keep it going. You were never away.

Brian Connolly
1st Old Boys Silver Band
_____________________________________________________________________________

Tongue was in cheek

In order to reassure A. Austen (and to assuage my guilt at having caused  someone such offence), yes my tongue was so firmly in my cheek that I have managed to almost bite through it. The KM Medway band take contesting very seriously, and any comments were my own. However, I would advise A. Austen to look in the venue's bar (or the closest Weatherspoons, for that matter) on contest day to see just where the majority of the bands end up after playing. It is a fact that the majority of players, having devoted the previous 6 weeks to to the test piece, want to relax over a pint with friends from their own band, and catch up with friends from other bands. You never know, they may even discuss the test piece whilst they are at it!

Richard B. Parsons
KM Medway (though not speaking on their behalf)
_____________________________________________________________________________

Help on finding John Wallace Mouthpieces

After a bit of investigation on the internet I found a website called musiciansfriend.com. They were selling John Wallace trumpet mouthpieces however I am not sure if that is the one you are after as you did not say in your comment.
 
I hope this helps a bit. I just went into google and put in "John Wallace Mouthpieces" This was the first website that came up, there maybe a few more for you to try.

Clare Needham
_____________________________________________________________________________

British Open start time?

It is my intention to travel from Scotland, to the above contest, but I am having difficulty in finding a "starting time" for this event? I like many other Scots, would like to be able to book flights as early as possible, in order to obtain the best price.(not that we are mean or anything!). From memory , last year it stated at 11-00am. Can you help?

George Bennett
4BR Reply:

We have made some enquiries George and it has been suggested to us that the start time will probably be between 10.00 and 11.00am but that will be confirmed later in the year when the test piece is announced.
_____________________________________________________________________________

In praise of SWABBA

I'd just like to publicly thank the SWBBA and their amazing job they did with their workshop in February. It was a very enjoyable weekend and I would thoroughly recommend that others attend next year.

Thanks to Steve Pritchard-Jones, who conducted my arrangement of Gymnopedie No.1, who did a marvellous job, as did the 127-strong band. Additional thanks to Goff Richards for accepting the piece for the workshop.

Hope to see you next year, guys!

James McFadyen
_____________________________________________________________________________

and some more......

I thought I should put pen to paper to say a big thank you to the South West Brass Band Association. Over the weekend of 10th and 11th of February I had a great time at the SWBBA Mid Winter Workshop held at Tavistock. Player under the baton of Geoff Whitham, Steve Pritchard-Jones and David Marshall was fantastic and I really enjoyed the experience. All three conductors were brilliant and kept us entertained with good humour and great musical skill. 

I look forward to the next workshop and thank the SWBBA especially Goff Richards and Brain Elliot for organising such a great event. Heres to next year.

David Green
Exeter
_____________________________________________________________________________

Thanks Dyke

I would just like to say how much i enjoyed the concert given by Black Dyke Band recently at Birmingham Symphony Hall on Sunday 11th February.

It was first class playing from start to finish well presented and very entertaining with the test piece Resurgam played with such feeling  to a very high standard in every way possible.

Nicholas Childs as ever came across to the audience  in a great friendly manner and it was nice to hear him tell a bit about each piece and appreciate the well deserved applause from the audience for each item played.

It was made a lovely suprise for myself as it was my Valentine's Day gift from my girlfriend.

Ian Perks

Area Test Pieces

To add comment on the choices of test pieces for this years area finals and having read several comments of others, mine are as follows.
 
The Champion Section piece for once is one that can be enjoyed by the audience(rather than endured) It in the main is tuneful and offers any of the "elite" a true test of their technical ability as well as tuneful ensemble playing.
 
The lower sections seem to have a mixed bag and being a stick waver myself I would without any doubt prefer to be rehearsing the " 2nd section rather than the rest. However second section, whilst it may on paper appear to be a breeze, in my experience they never are as I am sure most conductors know already.
 
Third section have what I consider to be a truly interesting piece, a true D Barry arrangement very melodic with some great slow passages that will test every band for the usual problems of tuning intonation and phrasing, which I have no doubt will catch quite a few out. The interesting fast passages of the rhythmic sections of the piece, will and is for me be a test for the conductors. How are all the Third section MD's getting on with the time changes? a feed back would be nice!!
 
The fourth section is a real test for any band and will I have no doubt be for all of the fourth section bands taking part in this years contest. What a first movement, one that if played well makes the hairs on the back of the head stand up. A good second movement showing off the Principle Horn player is quite unusual for this level and a third which whilst has its challenges for me spoils the first two.
 
For all 1st section bands that read this.Yes I have missed you out and I must be honest I haven't heard your test and as a result can't pass comment.
 
I wish all bands the best of luck and all adjudicators the same (especially the ones at the Midlands finals!!!)
 
Howard Gibbs

Tongue in Cheek?

I really do take offence at Mr Parsons final comment of "Which is knecking as many pints as possible after playing."

One can only presume that this is tongue firmly in cheek, or perhaps his own bands approach to contesting. Whilst it has been known for me to enjoy several ales after playing, one of the great things about contesting is that it allows people to discuss many matters, not least the results! Having spent a great deal of time in a variety of bars and locations after concerts and contests I feel qualified to comment upon this!

One final rant….Surely the thing to do best is to play / listen / be involved. Or stay in your local.

Yours,

A Austin

Help with John Wallace mouthpieces?

Back in November I attended the Scottish Open Contest and saw a trade stand for the John Wallace Mouthpieces.  I think I picked up a leaflet about them and was, at the time, very interested.
Like everything else, my interest wained once I got home, and I cannot now find the leaflet.  Attempts to trace the company through the internet has proven pretty unsuccessful, unless you count the fact that I got into the Wallace Colection website and found that he was also a latter-day artist!!

Any assistance that anyone can offer me  - either a website address or telephone number - would be gratefully received.

Mark Pye   
4BR Reply:
Can anyone help please?

BBC Young Brass Soloist announcement annoyance

I was looking forward to hearing Listen to the Band on Friday night in order to listen and see if I could perhaps pick the winner of the BBC Young Brass Soloist of the year after hearing all the performances but now I don't need to bother since today I find the result on your news pages before it has even been broadcast. You could have waited. 

Allan Morrison.
4BR Reply:
Sorry Allan but we can assure you the final is worth listening to on Friday whether you know the result or not

Give judges a break

I have spent many a lazy afternoon perusing your website's comments section over the last few years trying to find some inspiration to continue with the work that I am paid to do, but I have constantly found my attention distracted, nay interrupted, disturbed even, to the point where I am finally spurred into writing, by the constant criticism of our adjudication system.

Why do we have closed adjudication? I must admit, when looking out from my seat on the contest stage, I am left aghast at why the organisers would consider sitting the adjudicator in a square curtained-off tent in the middle of the room, where the sound arrives at the adjucator's ears via the top of his head, is the best seat in the house (we all complain about curtains on stage, especially at Stevenage!), whereas the audience (or the audience who haven't decided to go for a much-needed tea or loo break) are allowed to hear the sound resound thoughout the auditorium. I then begin to wonder whether the hours of work I have put in (and subjected my long-suffering neighbours to) is really worth it. It is a times like these that my thoughts turn to the Beautiful Game of football.

No matter what the ref does, he is always in the wrong. How many arm-chair referees do we all know who could do the job better? How many publican football managers have we met who would have awarded that penalty? It is the same in contesting. How many of our adjudicators feel like Phil Dowd refereeing Wigan versus Arsenal? No matter what our adjudicators say or do, there will always be someone in the banding community who knows better. Would open adjudication make this situation any better? Well, all I can say is, how may Premiership managers claim that refs will not give a penalty at Old Trafford, The Emirates or Stamford Bridge? Surely, as humans, bias will enter the equation in Brass Banding  just as much as it does in football?

As an adjudicator only uses his/her ears, why does he/she need to see the band on stage? So, please, we know the score when we enter the contest, lets give adjudicators a break and let them get on with what they are qualified to do (as measured by their membership of their official association) and let us get on with doing our best at the contest. Which is knecking as many pints as possible after playing.
 
Richard B. Parsons
KM Medway

 Good remarks?

In reply to comments by many - most recently H Smyth - about adjudicators' remarks being really good yet bands being placed well down the list:-
 
If say, performance 5 is good, but performance 15 is really, really good - the deed is already done and the adjudicator would be wrong to bin the original remarks and write new ones!
 
But that would leave the question of - what if the better performance was earlier and the adjudicator could have written good, but not as good as numbers 7,9,10,13,27 in bar 22 etc etc? -  well then the adjudicator should be listening as much as possible - not writing as much as possible -
 
This means that sometimes remarks will say "good" and will not say "but others were better"
 
Players/conductors wanting to know more from the remarks about where they (apparently) went wrong - maybe they didn't! - maybe the others were, just... better.
 
There's nothing implied or agreed that entering into a brass band contest means that you get a free eleven minute consultation!
 
Keith Wardle
Edwinstowe
 
ps... I get frustrated with it too, until I think about it as abov

More thoughts on Action Research comments

Having submitted an opinion which was at least in some part supportive of Stephen Tighe, I would now like to put some more context into the remarks in light of the 4 Bars rest retrospective, and the other comments that have appeared on the site since.

Firstly, for an adjudicator to describe aspects of any performance as RUBBISH is unforgivable – I would be devastated by such a remark under any circumstances – the Simon Cowell School of adjudicating has no place in Brass Bands.

Secondly, readers may be interested to view Stephen Tighe's opinion on last years contest, in which he particularly praises the performances of Rochdale and Boarshurst, and makes no mention of the Band that actually won the Entertainment title, or the most Entertaining piece award!

Once again congratulations to all the Bands at this years contest on a superb days entertainment. See you all next year!

The comments appear on The Mouthpiece.com, and can be accessed by following this link http://www.themouthpiece.com/vb/showthread.php?t=19370&page=5

Trevor Hounsome
Musical Director – Enderby Youth Band

Disheartened at results

I must say im absolutly disheartened with the results of the Action Medical Research on sunday 11th. I believed we played extremely well and our entertainment was by far better then what we had done last year. The comments given to us in the feedback from the judges were really harsh and not needed. They said our entertainment didnt wow them which i think is not true since we had done so much. Its hard to accept that a band who just swayed came higher then us either!

I can not believe that Rochdale were awarded full points, as i watched them and i don't believe they were as good as they normally were. I honestly think our entertainment was far better then theres.
I believe that its certainly personal with us!

RM Harris

No concern at Action Research

Stephen Tighe clearly awarded marks that reflected his perception of the efforts each band had made to match the criteria in the four areas indicated, and this created a large discrepancy – however if you have 100 marks to award, you should expect to use the full range of marks available – and perhaps this should happen in the Music marks as well. He should not necessarily be criticised for this. 

A more fundamental question should be "What is Entertainment?" Stephen Tighe seems to think that this is largely humour – I would argue that entertainment can be artistic or aesthetic, but it is in the eye of the beholder, and therefore a subjective opinion. Stephen Tighe put his interpretation on what he found entertaining and came up with a result – he should not be criticised for this either. 

It is possible to alter the results any way you like by various manipulations of the weightings between the two marks. However at the end of the day, the monetary prizes were awarded for placings in Music and Entertainment – and the money prizes are greater for the Music placings thus rewarding the Bands who put greater effort into this area of their preparation. No money is awarded to the Band that wins the combined title. Therefore, another way of working out the overall winner is to work on placings alone, with the Music mark taking priority in the event of a tie. This produces the following result 
 
(Music Placing + Entertainment Placing = Total)

Rochdale (4+1 = 5): Youth Brass (2+4 = 6): Sellers (3+3 = 6): Beaumaris (1+6 = 7): Boarshurst (5+2= 7): Valley Brass (6+7 = 13): Enderby (10+5 = 15): Abraham Darby (7+9 = 16): Elland (8+12 = 20): Tees Valley (8+12 = 20): Wardle High School (12+8 = 20): Houghton (13+10 = 23): Oldham (13+11 = 24): Poynton (11+14 = 25)
 
Rochdale, therefore worthy winners!!!

However… factor in the 2:1 ratio suggested by the 200 marks for Music and 100 marks for Entertainment (by doubling the Music mark), and the result for Bands 1 – 7 is identical to the Music result, therefore making the Entertainment factor an unnecessary part of the results procedure! There really is no obvious solution, except to accept the system as it stands!!
  
(Music Placing (x 2) + Entertainment Placing = Total)

Beaumaris (2+6 = 8): Youth Brass (4+4 = 8): Sellers (6+3 = 9): Rochdale (6+3 = 9): Boarshurst (10+2 = 12): Valley Brass (12+7 = 19): Abraham Darby (14+9 = 23): Enderby (20+5 = 25): Elland (16+12 = 28): Tees Valley (16+12 = 28): Wardle High School (24+8 = 32): Poynton (22+14 = 36): Houghton (26+10 = 36): Oldham (26+11 = 37) 
 
The Entertainment aspect is a vital part of this event – and many bands put on a phenomenal show. My band spent many many hours preparing props, costume and choreography – as well as the music. We are equally aware that every other Band does too, and I do not want the organisers to feel under pressure to change things because the result has not gone "according to plan" – either the Entertainment factor is significant or it isn't… Ask the audience and I know what they would say. The answer is for the more musical bands to raise their game on the Entertainment front – and to hope the Entertainment judge appreciates their efforts!

Rochdale have shown the way year after year, and it is up to us to match them – I am already planning next years programme!! We had a great weekend in Blackpool – it is the highlight of our Band's contesting calendar, and long may it continue.

To finish, here are some personal thoughts from parents of our Band members.. many of them totally "unmusical"… Youth Brass should have won overall; Our Music position was harsh; Elland were the Band with the most potential; Wardle – great use of ICT.. shame it got out of sync with the Band; Rochdale… is it really legitimate to include a 4 min Bass quartet in a 20 min programme, but brilliant choreography and staging throughout; Sellers – stunning levitation!; Beaumaris – awesome musicality!

Trevor Hounsome
Enderby Youth Band

 What is entertainment?

What a fantastic event! I had forgotten just how close and well fought out Youth Banding can be. Great organisation and really good stewarding - done sensitively with not at trace of "jobs-worth" - Traffic Warden mentality!! The hall reminded me of the old Leeds Town Hall with an echo and resonance that eats tenor instruments.

The adjudication left me pondering. A question - "What is entertainment"?

Having played in them numerous times - I remember the way the Granada sank to many lows in the 70's with Cowboys and Indians etc....balanced thankfully by witnessing the innovative magic of Grimey, amongst others, slick and professionally entertaining.

At Blackpool having heard the results, seen the bands and read remarks that were COMPLETELY biased towards Comedy and novelty (kiss me quick hats and the like) props and costumes (sometimes lack of them). I am bewildered as to what the CONTEST wants bands to do. I know I will be wrong - because I am not an adjudicator (they - rightly are deemed and paid to be right!)

The adjudicator was clearly looking for comedy interludes brought about within a programme of music. Sometimes I got the impression that he wanted comedy only occasionally interrupted by music! I don't agree.

Lets see and hear good, enjoyable music, played well. By young people apparently enjoying themselves, with innovation that pushes boundaries - not smudges them. The programme played brilliantly by Beaumaris did that for me (and Mr Scott too).
 
Question 2 - How can anybody right minded give 100% for a performance? was it perfect - couldn't it be bettered? Come off it. I understand that Mr Tighe is to adjudicate an area - I wonder if we will see a similar ridiculous record set there? (by the way - has any band ever received 100% before in a proper contest? - readers?).
 
Gordon Eddison
Yorkshire

Badly treated

Ref: the Action Research entertainment results. We felt badly treated and wanted to air our views, but felt it might be classed as sour grapes. However, after reading the comments today we would like to add ours.

After a break of 4 years we took a very young band with an average of 12 to the contest. This was the strongest band we have ever taken and a lot of extra effort, preparation and enormous expense went into the getting the young people there. To be placed in 11th position overall was very disheartening. And why?
Because of the uncalled for remarks made by the entertainment judge.

The band finished quite high up in the music but because of the very condescending and in some cases rather offensive remarks from the entertainment judge the band finished in a rather low position. We would be pleased to talk to Mr Tighe about these remarks.

Young people are the future of the brass band movement and this kind of thing should not be allowed to happen.

Kathleen Harrison
Elland Silver Youth Band

Not That Christopher Thomas !!
 
I would like to thank 4barsrest for their super coverage of the Festival of Brass held recently at the RNCM.
It was particularly pleasing to read the positive review of the BAYV Concert which I conducted. However, I have had a few emails suggesting that it was a bit rich for the reviewer to be playing solo trombone with the BAYV Band!

Could I clear up this misconception? Chris Thomas, solo trombone with BAYV Band had absolutely nothing to do with the wonderful review, he did however contribute significantly to the high standard of performance. There must be two of them?

Bob Childs Conductor
BAYV Band

4BR Reply:
Just to clear it up. Christopher Thomas from the Midlands does plenty of work for us at 4BR and is a very experienced brass band player. He is not the Chris Thomas, star trombone player of the BAYV Band. They are in fact two seperate people!  

Tertnes objections

I have read your retrospective on the Norwegian Nationals. Obviously, one can get rather "touchy" when it comes to ones own performances. Still, your comments on tertnes brass own chosen work can not pass without objections.

Tertnes is a hard working band with a young crew. They are improving all the time and has given several top class performances this season. Most noteably perhaps the latest siddis where they played an all Torstein Aagaard-Nilsen programme.

For the nationals we ordered a new piece, wishing to forward music by young norwegian composers. In this case, Stig Nordhagen. Mr. Nordhagen is a well known composer in Norway, but this is his first major work for brass band. He worked closely with me and the band in the process, which was a great experience for all involved.

The band and the composer was very happy with the first performance in the Grieghall last saturday.
We felt (unlike the judges) that our playing was massively better than the night before. This was the overall audience response as well, but that is contesting for you.

Many in the audience loved the piece, others of course did not. 4barsrest did not, which of course is your right. Still, to say that the choice was aimed at the box is both offensive and plain stupid.
 
We wished to get a good composer interested in brass bands. We wished to give the audience a new piece, adding some freshness to the repertoire. In many ways, the norwegian nationals is increasingly becoming an event for those interested in norwegian contemporary music. In tertnes brass, we feel this gives the contest a new dimension. We wish to contribute to that line of thought.

To play a new piece of music which is very different in many ways is, if anything, risky in a contest. Not the other way around. The band improved a lot in the process.

Of course, you are allowed to dislike the piece. But you might add to your comments that you never saw the score, and that you possibly did not understand the ideas in the piece.  Just a little humility when faced with an unknown piece of music that you might not "get" at once. When we present a serious composer with the brass band movement, it would be nice to show him some serious reflected critics afterwards.
 
For the future: If you see a piece you do not know on the list for an upcoming contest; Ask the band (or the band federation or the composer if the bands identity is unknown) for a copy of the score. I am sure they will be happy to provide you with one. Including comments in english  from the composer.
 
Bjørn Breistein
Conductor, Tertnes Brass.

Made my day!

Thank you for your postcard from Bergen 2nd Division. You just made my day (and weekend)!
 
"The opening may have been a touch heavy in the bass section in places, but there was some wonderfully tight and accurate technical playing on show and  a lovely flugel voice in the slow second movement."
 
Gøril Nøkleby
flugelhorn in Tertnes Amatørkorps

4BR Reply:
Nice to be of use...

Belgian National Anthem anyone?

If anyone knows where to obtain the sheet music for the Belgian National Anthem please could you let the Stalybridge Old Band know as we require it for our upcoming tour to Belgium to take part in the St Bernard Festival 23rd - 27th August.
 
Please contact Mrs A Greenwood (Band Manager) Tel: 0161 338 4398.  Mob: 07967857147.
 
A. Greenwood
Stalybridge Old Band

4BR Reply:
We are sure someone out there has played it before, so please get in touch.

Points of despair

I've just read the results from the youth band contest in Blackpool this weekend.  Looking at the points awarded makes me despair.  In terms of the top 5 placings, James Scott's views were only really relevant in
determining the difference between 3rd and 4th places!

Points awarded for playing:
1. Beaumaris  - 193 points
2. Youth Brass 2000 - 192 points
3. Sellers   - 191 points
4. Rochdale  - 189 points
5. Boarshurst  - 188 points

Looking at the number of additional music related prizes awarded: Sellers  3; Beaumaris  2; Enderby  1; Rochdale  1; Oldham  1

So why did the bands placed 4th and 5th on playing merit come 1st and 2nd overall?  The 'entertainment' results - that's why:

1. Rochdale  - 100 points
2. Boarshurst  - 98 points
3. Sellers   - 90.5 points
4. Youth Brass 2000 - 90 points
5. Enderby Youth  - 80 points

Please don't get me wrong - I know a lot of hard work goes into getting any band to a contest (I've been a contesting bandsman for over 20 years) and this is especially true of youth bands (I've worked in youth music one way or another for well over 10 years). 

Every band that went to Blackpool worked hard to get there, put on the best show they could on the day and deserves recognition for players, conductors and back-room staff alike.  I'm not proposing we take any prizes away from anyone either - the bands entered knowing the basis on which judgements were made.

I'm also not against having fun whilst making music, especially if it keeps and maintains the interest of young players.  What does annoy me though is that whilst we're trying to nurture the great players of tomorrow (and I know there are some really great players in these youth bands because I've been lucky enough to conduct and play in bands with some of them) I think we're getting the balance all wrong.  The music we make is surely at the heart of all brass banding? 

So why is it that a band can win in musical terms but then come nearly half way down the field overall at a contest like this?  I'll tell you why!

It's all about variation.  It doesn't matter if the music adjudicator is marking out of 200 and the visual one out of 100 - it's the relative difference in points awarded that makes a difference.  James Scott awarded a highest mark of 193 points and a lowest mark of 177 points - a difference of 16 points.  Stephen Tighe awarded a highest mark of 100 points and a lowest mark of 57 points - a difference of 43 points. 

I'm not saying that either of them is wrong in the way they awarded points as professionals, I am confident that they both had clear criteria for judging and that they applied them fairly to all the bands competing.

Unfortunately though, in terms of deciding who won the contest, James Scott needn't have bothered to turn up - Stephen Tighe had more variation in his top 5 bands than James Scott had in the whole field of 14 bands!

I know it's easy to criticise but I have a suggestion too!

How about having a set of guidelines for adjudicators for awarding points at this sort of entertainment contest (and this could apply to all entertainment contests, not just youth ones)?  This system would
enable music and entertainment adjudicators to continue to act independently of each other.  It would give a stronger weighting to the music adjudicator's views but still enable the entertainment points to influence the decision (which I assume is the principle behind asking the music adjudicator to mark out of 200 and the entertainment one out of 100).

What I am proposing is to ask the entertainment adjudicator to ensure that the total variation between the highest and lowest points he awards is the total number of competing bands, plus 60%.  For example, if 10
bands enter a contest, the entertainment adjudicator would be asked to make sure that his highest placed band had approximately 16 points more than his lowest placed band. 

The music adjudicator would be asked to ensure that the total variation between highest and lowest placed bands was twice the variation expected of the entertainment adjudicator.  In our example of 10 bands, this would mean that the highest placed band would be expected to have 32 points more than the lowest placed one.

Applying these weightings to the results for Blackpool, this would make a difference of 45 points for music between highest and lowest bands and 22.5 for entertainment.  Rounded to the nearest 1/2 point, the results
would look something like:

1.  Youth Brass 2000 190/95/285/+2*
2.  Sellers 187.5/95/282.5/+2
3.  Rochdale 182/100/282/-2
4.  Beaumaris 193/88.5/281.5/+1
5.  Boarshurst 179/99/278/-3
6.  Valley Brass 176/86.5/262.5/+2
7.  Abraham Darby 173.5/85/258.5/-1
8.  Enderby 165/89.5/254.5/-2
9.  Elland 167.5/78/245.5/+2 $
9.  Tees Valley 167.5/78/245.5/+3 $
11.  Wardle High 156.5/85.5/242/-2
12.  Poynton 162/77.5/239.5/+1
13.  Houghton 148/83.5/231.5/13/-3
14.  Oldham 148/79.5/227.5/=

* music mark/entertainment mark/total/position change
$ 4bars rest gives identical marks to Elland and Tees Valley for musicand entertainment but somehow gives Elland an extra point in the totals.

I'd be interested to see what other people think.

These views are my own.  They do not represent and may not coincide with those of any organisation or employer with whom am currently, or have historically been, associated.

Pete Denton

Next move for the King

Having worked with David for many years whilst Band Manager of YBS I was as disappointed as everyone else to see the news of his departure, however, nothing lasts for ever and sooner or later the great partnership would end.

Whilst I have no direct connection with David or the Band any longer, I am eager to see any reports of their activities and will remain a life long supporter of both. To this end I would love to see David move in to the adjudication arena. I am sure that David would bring a new dimension to adjudicating, the names of Relton, Newsome, Whitham and Read etc have been at the forefront of the movement and I for one have enormous respect for all of them, but if a contest organiser could persuade Professor King to adjudicate at their contest I am sure it would be good for the movement.

Richard Hirst
West Yorkshire  

Finding the Virgin

In response to Teresa Whites request for a copy of the Virgin of Macerena. This piece was written/arranged for the GUS band by Mark Freeh.

Desford made an official request to borrow the manuscript copy for the Butlins weekend only, which we accepted. The piece has not been published and we are not at liberty to distribute copies. However, I would suggest that you contact Mr Freeh direct to see if you can obtain a copy.

Simon Smith.

What ever happened to the Pope and his brass band?

In May 1982, Pope John Paul II made a historic pilgrimage to these  shores, as part of this pilgrimage he celebrated Mass in Manchester's Heaton Park. One and half million people were expected to attend,  the music was to to be provided by a massed choir, and probably the largest brass band ever assembled at that time.

Strangely the large band of 100+ received little publicity, the dcumentaries made of the event never showed them, they were only seen in the background, of the press photographs the day after, and the only pictures of them were on the live BBC broadcast on the day. Even the band press at the time failed to mention the event, and all this in spite of the band being positioned next to the high alter! The Band was conducted by Gary Cutt.
 
To celebrate the 25th anniversary of the event, I am trying to write an article, about this event, and would love to hear from anyone who was involved in any way. I would be particularly keen to borrow any photographs, or more importunately a video copy of the mass .
 
If you can help please contact me on:-
 
01606 44765
0789 6145743
 
or John_stirzaker@yahoo.co.uk
 
John Stirzaker

4BR Reply:
Anyone out there help?

Distrust in the UK

I would like to comment with regard to open adjudication and the inherent distrust here in the UK. Could we not pilot a scheme where a propotion or indeed the total of the adjudicators presiding over a section at a major event are from our european neighbours.

I wonder whether something like this might help to break the cycle of mistrust in this system.
 
Ken Bonser-Ward
KM Medway

Any pro rata errata?

Does anyone know if there's a pro rata (oops sorry private joke), I mean errata for the 4th section regional test piece 'The Seasons'? There seems to be quite a few queries that need to be sorted.

Also, did 4BR not have any coverage of the Preston Contest? There's no predictions or retro's - it would be nice for us bands people up north to have some feedback??????

Ian Mills
Uppermill Band

4BR Reply:
At present we don't know Ian, but we are sure someone can help. We were there at Preston and did a short report, although we take your point about even better coverage. Next year we will try to do better.

Blinding performance
 
I have just listened to the blinding performance of Romeo and Juliet by Eikanger Bjorsvik Mussiklag for the 4th time via Radio 3 'Listen again' service. 

Is there any proposals to produce a CD of this piece as it was played?

Jeremy Ridley

4BR Reply:
Not that we know of Jeremy -  but you never know with those clever Eikanger souls

Great service

Late Saturday afternoon…… ordered CD from 4barsrest. 8.22am Monday morning……CD delivered through my letterbox.
 
Absolutely fantastic service!

Heather Smyth

In further response to Mr Shenton…

It is unfortunate that Mr Shenton continues to conduct his ill-advised campaign for Rothwell band's inclusion at Brass in Concert through the banding press. Again, on behalf of the organising team of Brass in Concert, I would respond as follows:

1. The various criteria for determining which bands should be invited to Brass in Concert have been outlined previously. Mr Shenton seems to require a ‘black and white' process, which this is not.

2. Mr Shenton quotes irrelevant information in outlining that Yorkshire Imps, Carlton Main Frickley and Hepworth have received invites in this millennium, whilst Rothwell have not. On the last occasion Yorkshire Imps were invited (2003), they were ranked 17, whilst at that time Rothwell were ranked 28.

Carlton Main Frickley last attended the event in 2004, at which time they were ranked 19, whilst Rothwell were ranked 31. Hepworth were invited in 2005 at which time they were ranked 14, whilst Rothwell were ranked 16. The current ranking of these other Yorkshire bands is entirely irrelevant to their past invitation.

3. Jackie Beere has been involved in the organisation of Brass in Concert for 22 years, whilst I am a relative newcomer. I would not dream of telling her that she ‘has a say in this' – rather, I am flattered that she feels I have anything worthwhile to offer the event.

Jackie is a gracious, hard-working lady who seeks to do nothing but good for this event. Her preference is to remain ‘in the background', but she knows that if she held a strong view (on invitations or any other matter) her opinion would be valued. Mr Shenton's continued attempts to discredit Jackie are at best disrespectful and at worst disgraceful.

4. The criteria for invitation to the English Nationals and the All England International Masters are as irrelevant to Brass in Concert as Brass in Concert's are to these other two competitions. All three competitions are unique in many ways, including the criteria for invitation.

5. I can reassure Mr Shenton that his comments have not jeopardized Rothwell's chances of a future invitation to Brass in Concert. Neither will they enhance their chances. The organising team will continue to deliberate over future invitations irrespective of Mr Shenton's ill-advised comments.

I would urge Mr Shenton to reconsider the ‘conspiracy theory' which he seems to hold. Rothwell are a very fine band, and in a year when it is likely that only 10 British bands will appear at Brass in Concert (one overseas participation is confirmed, another is pending), Rothwell, with their current ranking of 15, are very close to being invited. If not this year, maybe next – contrary to Mr Shenton's claim we have not even started to consider 2008 yet. The organisers of Brass in Concert will make no further comment on this issue – we urge Mr Shenton to do the same.

Trevor Caffull

4BR Reply:
Correspondence on this matter is now closed.

Well done Gloucester!
 
Could I through your news pages congratulate five youngsters from Gloucestershire on being accepted into the National Children's Brass Band of Great Britain?
 
Elly King (12) on flugel horn who plays for Avonbank, and Rhiannon Symonds (9) on trombone who plays for Lydbrook Training band completed their first course in July 2006 and this year they will be joined by Ben Stratford (12) on Baritone from Forest of Dean Brass, Emily Harding (12) on Cornet from Drybrook Bsnd and Will Norman (12) from Tewkesbury band.
 
Congratulations to them all on their super achievements - the future of bandin in Gloucestershire certainly appears to be in safe hands!
 
Kristyann Symonds

A Norwegian explains...
 
Just want to tell you why Laksevaag is playing in the First Division this year at the Norwegian National Finals (ref: Norwegian National coverage). The NMF annonced that there would be one additional place in the First Division this year and we wanted to try qualify for this.

After a quite good CD recording, "Variations Celestial Prospect" by Wilfred Heaton, the results were presented as following:

Laksevåg Musikkforening,  94 points
Bergen Brass Band,  91 points
Sagvåg Musikklag,  88 points
Brøttum Brass,  86 points
 
Svein Farsund
Leader of Laksevåg Musikkforening.

Why so open about open? 

I have just read your preview to the Norwegian Championships and note again your support for open adjudication to be adopted in the UK.

You say that doing so will make the contest more 'audience friendly and transparent': I am interested why you think it would be?  Not saying I disagree with you here, but something more specific about your viewpoint as opposed to the occasional 'plug' would be of interest.

My apologies in advance if I have missed a previous editorial or article on the subject.

John Ward

4BR Reply:
4BR has been a supporter of open adjudication since the site started and we have seen at first hand how it works so well in Norway. It works so well there because there is no histroical baggage concerning the perceived trust of the judges to make a honet assessment if they can see as well as hear the performances. As we have said in the past - it is nothing to do with the judges themselves, but all to do with the misguided attitude of bands towards the integrity of the process employed.  

Lip service - a possible answer 
 
I sympathise with your situ (tee-shirt video & DVD bought some time ago). Time v practice v job v family v got a life?

Firstly once the damage is done, only rest will do and all (inc. band) must understand this. Weighing up the damage can be done by honest self-assessment: "How much does it hurt & how bad does it sound?"

If the answer is Ouch & Yak then you need two to three weeks off. When you return, you must then re-build slowly resting more than playing. One should start with mouthpiece (and mouthpiece should be a part of everyone's daily work out especially at the start), no tongue, and go for the lowest relaxed note one can muster! From there gently (in a slide-like trombone fashion) slur upwards a fourth or a fifth and then back down and relax.

After 4/5 mins of this rest. Re-start on mouthpiece with a note in a more standard low register, then glide slowly in/on tones CDCDCDC-------, then DEDEDED--------, then EFEFEFE--------, then FGFGFGF---------- then down GFEDCBAGF# & hold. Rest. Use plenty of air, don't push too hard on the mouthpiece (hold with 2nd finger and thumb, mouthpiece will slide with too much pressure), go for a quality of sound (even though sounding like Bass Duck).

Repeat all 10 mins later and perhaps advance the exercise to middle C. Rest 15 mins. Then perhaps look at "How Brass Players Do It" John Ridgeon, first 2/3 pages all at mp, rest in between, then call it a day after 10 mins or so. Repeat the next day adding in job lots of one or two mins per exercise attempt. Don't be tempted to touch any pieces for at least a week and build on from there.
 
I observed Tommy Stevens Philadelphia Orch (taught by James Stamp USA trumpet shrink) using mouthpiece at RNCM, after that I was hooked. In the pocket, in the car, lunch break and middle of a field.

You can also get the Stamp warm-ups from June Emerson (I think). I also have some ex's of my own and you can have them in pdf format if you like, just drop me on info@elmsstudios.com and I'll send them right back. Good luck, and respect those chops!
 
Phil Lawrence

Decisions, decisions... 

Having been a brass band fan for something like thirty plus years. I attended Brass at the Guild, which for the most part was very well run.

Having found some of the results quite hard to believe. I listened to most bands in the third section and all the bands in second section.  I can't speak for the fourth section as I didn't here them (ref solo prize for the baritone no slur on the player or band). Surely the bands deserve better.

Does anyone from ABBA monitor adjudicator's remarks and decisions? Please note I, am not attached to any band.

S. Philips

4BR Reply:
If after 30 years you realise that the difficult assesement of adjudication can sometimes be a mystery then welcome to the brass band world! You may think it was a poor decision, but all that counts is that the judges got it right . We have to accpet that even if we disagree with the result, although if you wish to ask more questions about training then contact ABBA direct. 

Disillusioned with contesting

My band has just returned from Preston Contest and I, for one, am become more and more bewildered and disillusioned with contesting.

As far as many others and we were concerned, we played extremely well and some very well respected people in banding were impressed with our performance. In the end, lo and behold (and I think for reasons which will stay within the walls of the bandroom) we were placed extremely low down in the results.

I'm not complaining about that….that's banding for you!!!

My gripe is that the adjudicator's remarks were very good. So good in fact that I would have loved to have seen the remarks of the winning Band. They must have been something!!  If we were to be competing a week later on the same piece there was very little, if anything on the remarks to help us improve. I honestly do not know how our remarks justify our low position.

Please Mr Adjudicators, bands need to know where they've gone wrong. If you're going to place us at the bottom please justify this with your comments!!!!!!

(a very confused)

H. Smyth

Conflicting comments 

Once again the comments page features a dispute between bands and contest organisers. This conflict will continue whilst 'individual organisations' are responsible for contests. These organisers do a great job but are not subject to any terms or conditions as to the overall organisation.

For many of us we have seen the Brass Band movement as an organisation usually run by stalwart volunteers in addition to the day job. However we have to face facts that at the elite end of this movement there is 'big money' to be had. Therefore is it not time to grab the movement, ignore the egos, talk with the money men and standardise the contest arena with a clear and transparent system that is fair, equal and consistent.

Many models could be used to base this system upon but the overriding factor should be that some 'elected body' should have overall control of contests in the sense that 'invitations' / 'qualifications' / 'rankings' are in the control of this body as well as registrations thus every contest could have the label 'under the auspices of the ******'. (You never know they could be in-charge of drug testing - not the adjudicators!!!!)

Unfortunately we live in a litigious society and we have had recent examples of bands having to go to the courts to gain 'justice'. In line with every other aspects of society I can only see the number of legal challenges increasing.

Results and rankings could then be used in far more ways than is current and each and every band could be treated equal.

Yes this would cost, yes all bands would need to register and yes it would take time to develop. It has got to be in all our interests to have this consistent approach and this should then stop the obvious distrust, allegations of misconduct etc. that appears with some regularity on 4bars rest and in the band press.

Finally I wonder if many of the sponsors are aware of the lack of cohesion within the movement? Litigation may not look good on them either.
 
Dave Bishop-Rowe

Solo baritone?
 
In response to Mr Jim Owen's comments on the awarding of the soloist award to a baritone player for, in his opinion, not a worthy solo passage.

Apart from suggesting there might be some grapes of the "sour" variety lurking in his comments, I would like to bring to Mr Owen's attention the dictionary definition of the word solo ..."a musical composition or a passage or section in a musical composition written for performance by one singer or instrumentalist, with or without accompaniment"

I think one will find that the passage played qualifies on all counts, especially when one considers that it was unaccompanied and under the pressure of the contest stage. How about heaping some praise and congratulations onto the winning soloist instead of undermining his accomplishments with such petty comments.

I dismay at today's attitudes of wanting to "knock" success. Where have the days gone when it was the norm to be magnanimous towards fellow bandsmen that manage to get rewarded for their efforts.

Tony Hodgetts

Best Solo - or Best Instrumentalist?

In response to Jim Owen, the use of the word 'solo' relating to brass band instrumentation has always been a misnomer. Most band parts are marked solo cornet (followed by repiano, 2nd & 3rd cornet) and solo horn (followed by 1st & 2nd horn) rather than the more correct first cornet (followed by repiano - sometimes referred to in older scores as first cornet - 2nd & 3rd) and first horn (followed by 2nd & 3rd).

They are marked like that even though neither may play a 'solo' during a piece.
The term 'best solo' or 'best soloist' should perhaps be re-named 'best instrumentalist' which would be a clear indication that it is not related to any solo playing, nor, by inference, restricted to a few players and it would give some of the other players who don't normally feature, but play just as important a role, a chance to win it.

Roger Lincoln

Lip Service? 
 
4BR after years of neglecting my poor lip I nearly came a cropper at Butlins recently.  My band Wingates had a fairly busy start to the new year and by the Wednesday before Butlins I was really struggling to play.  My lip was feeling bruised and battered.  I should know better but as I get nearer the age of 40 my reliance on previous practice habits is beginning to let me down.  

Not enough of the right sort of practice, poor warm ups, not enough lip flexibility… all conspire against me because ‘I don't have time to do it properly'…  I have my pride and when I know I am not attaining the standards of playing that I know I can reach it hurts, so now the time has come to do something about it.

I travel a lot with my work and it really isn't practical to take my tuba with me on business trips – no matter how much I'd like to, so now I am consulting widely to see if anyone has pearls of wisdom, techniques and tools I can take with me to strengthen my embouchure (Andy Berryman recommends chop-sticks (http://www.chop-sticks.com/) so I'll give them a go).

The late, great John Fletcher told me of his ‘finger over the end of the mouthpiece technique' to increase resistance and simulate the presence of an instrument without there actually being one (I guess the bore of a tuba mouthpiece makes this easier than it would be on a cornet!).

So there's 2 things I have come up with myself – but I seek more!

What I really want by writing to 4BR is some recommendations for warm-up techniques and publications (e.g. does the Charles Colin 100 warm-ups for Trumpet also apply to tuba?) – it should but won't exercise the full tuba range (which is much larger than that of the trumpet).  Are there any tuba specific exercises out there?

All help gratefully received – my lip needs you!

Andy Wyatt

4BR Reply:
Any ideas anyone?

Help with music
 
Please can anyone help. I am looking for two pieces for my Band in Belfast . Would anyone know the publisher of the following? You Are the Sunshine of my Life arr. G. Richards for 3 Flugels and 3 Trombones, and also Sandy Smith's arr. of The Mask of Zorro.

We have searched all possible publishers on the net but with no success. Your help would be very much appreciated.

Alan Hunter (1st Old Boys' Band - Belfast )
www.1stold boysband.fsnet.co.uk

4BR Reply:
Anyone help?

Rothwell response 

In response to the comments made by the editorial team on 4barsrest and the reply from Trevor Cafful, I submit the following facts about the Brass in Concert contest:
 
1. Other than Black Dyke and YBS (whom I must assume have been invited and have declined), Rothwell are the only British Band in the current top 20 never to have been invited to the contest. Call me paranoid, but this is a fact.
 
2. In this millenium there have been other bands from Yorkshire, including Carlton Main Frickley currently ranked 18, Yorkshire Imps currently ranked 44 and Hepworth currently ranked 20 who have all competed at Brass in Concert. These are bands who Rothwell frequently compete against and whom we frequently beat. Check the records. Other bands currently ranked above Rothwell have only jumped above us because of their inclusion in the Brass in Contest event.
 
3. Trevor Cafful states that the committee who decide the competing bands include Jackie and Paul Beere, but it was Jackie Beere herself who told me that the people who decide are just Trevor Cafful and Roy Newsome. Perhaps Trevor should tell Jackie that she has a say in this.
 
4. The criteria for entry into the English Nationals are clearly defined, and although there must be bands who have declined their invitations there is a known method of receiving an invitation. I can not say I understand the invitation criteria for The All England International Masters, but I suspect that higher ranking bands are not deliberately overlooked.
 
I apologise to those people who believe I should not have written to 4barsrest, because they think that by doing so I am jeopardising Rothwell's chances of receiving an invitation in the future, but my first letter was written having spoken with Jackie Beere who said that Rothwell would not be competing either this year or next year because the plans are already laid down. I have been in written and verbal communication with Jackie for five years and I have never received an explanation for why Rothwell are continuously overlooked.
 
Jackie has my details, and I would welcome a private note from her laying down what it is that we have done wrong or should do in the future to receive an invitation.
 
Mike Shenton
Rothwell Temperance Band

Dyke's spiritual home
 
Many thanks for the great article on the Black Dyke bandroom.

I have been a fan of the band for many years and have tried to buy all the CDs and watch them at concerts and contests when I can, but have never been to their bandroom. It seems an amazing place and so full of history especially the stands, the banners and the medals.

Perhaps now I may make the trip up there and see it for myself. I am sure I won't be alone.

Arthur Hadden
Crewe

Identity theft?

Your article on ‘Identity Theft' seemed to make a number of interesting points. Although Besson and York may share some sort of common background having seen examples of both instruments recently I have to say that both are completely different.

Brass instruments are essentially the same design – when was the last cornet you saw that was radically different to look at? The old Getzens? No one should be surprised they look alike, but there are crucially differences that make them totally different to play on – and I have blown a couple.

Whether any of them are any good is another matter, and as you said, it will be the question of quality and price that will determine whether either of them makes any sort of mark here in the UK.

Paul Bennett

Well done Oldham

I am emailing you on behalf of The Oldham Band (Lees) with regards to our victory yesterday at the Brass at the Guild Contest in Preston.

As you can imagine, having won in the Fourth Section for the past two years, we were determined to make sure that we did all we could to produce a performance we could be proud of. Especially with this being our debut in the Third Section.

So after putting ourselves through a rigorous rehearsal schedule, we thought that all we had to deal with would be the nerves of the day itself. Little did we know, however, that whilst half our band stood on Lees High St and the other half stood in Chadderton a few miles away at 6am on the cold Sunday morning. Our coach driver was tucked up in bed nice and warm having overslept!!

After patiently waiting for half an hour and trying in vain to contact the coach company we gave up, realising that we had to get ourselves to preston, and quick! We had a booked a hall to rehearse in and we were drawn first!

So there we were, a brass band, with instruments and supporters, needing transport and directions!

I am proud (as is the rest of the band) to say that without complaint players and supporters quickly found transport and those with Sat Nav used mobile phones and convoys in order to get there in time.

Needless to say that after such a nightmare beginning to the day, the pre contest jitters were surfacing. Some thinking it was an omen, some just plain nervous. However after rehearsing (again) and a quick morale boosting talk from our MD John Collins. We went on stage and did ourselves proud. Our soloists played a blinder (in fact we even won Best Sop) and the ensemble left no gates open.

The band should be commended for keeping their cool and congratulated on the outcome of the contest.  Well done!

Proud Member of The Oldham Band (Lees)

When is a solo not a solo then?

I have just returned from the Preston Guild Contest (4/2/07), and was very surprised upon hearing that a solo prize was given to a band's Baritone player!  Nothing unusual there you might ask.  But this band had played the same piece as our band "Facets of Glass".  At the the start of the 3rd movement, the 1st baritone player has TWO BARS on his own, and is then followed by the other bari and two euphs.  To make things better for him, he has the same two bars at the end of that section.
 
Dont get me wrong, had it been our baritone player that had been the winner of that prize, I would have said EXACTLY the same thing.  How can you possibly award a soloist prize for only TWO BARS?  Doesn't matter which instrument it is, two bars does not a solo make!
 
Heads up adjudicators, lets have prizes for PROPER solist's next time eh?
 
Jim Owen
Farnworth & Walkden Band

Looking for a virgin

Having listened to many of the bands at Butlins, I was particularly impressed with David Smith from Desford's rendition of 'La Virgen de la Macarena'.  Does anyone know where I can buy the arrangement of this?

Teresa White

4BR Reply:
We don't know, but we are sure someone will tell us Teresa

Nationals date 
 
I'm from Switzerland and would visit the National Contest in London next october. Could you tell me, when the contest starts?

Which test piece is selected?
 
Best regards from Switzerland

Christoph Egger

4BR Reply:
The Nationals will take place at the Royal Albert Hall on the 20th October. No announcement on a test piece wil be made until well after the Regional Championships, although the rumours are flying already...

^back to top